World Café Live will be the place to be tomorrow night when some of the east coast’s funkiest acts come together to put on a Thanksgiving Eve performance for charity. The show will be in support of Will Funk For Food, an organization that works in conjunction with Philabundance to benefit those less fortunate facing hunger especially during this holiday season. Food donations will be accepted at the show, so bring a canned item! The lineup features some great music so here’s some info on the incredible talent that will be present:

Based in New York City, Brother Joscephus was formed in 2007 on a cruise ship by David Mendelsohn (aka Brother Joscephus) along with keyboardist and music director, the Right Reverend Dean Dawg. The band started out playing in NYC and eventually bought a van and made the pilgrimage to New Orleans, where they get much of their influence. They describe themselves as a combination of funk, jazz, and secular gospel.

“Brother Joscephus is a little bit of a music collective,” says Brother Joscephus, “We perform with a lot of different vocal artists from all over the country whenever we travel. We are a ten-piece band, almost like an orchestra. We like to get very over the top with our arrangements.” When asked about their creative process, he replied, “The music is very intricate and highly arranged. It becomes quite a process, but I think the end result is worth it.”

Over the years, their music has evolved to include more epic, nuanced, and grand-scale compositions. They released their third album “Revolution of Love” last year which highlighted their secular gospel side, which contains messages of acceptance and a broader, more inclusive message of gospel music.

“It’s going to be a really special night of music, all three bands are going to work great together, and it’s for a great cause.”

Swift Technique is a group of Philly funksters that we’ve recently had here in the WKDU studios for a live session which can be heard here. Formed in 2007, they started out as a live hip-hop group. As they progressed (and the emcee left the band), they began to evolve into a funk powerhouse in the tradition of James Brown. Bassist, Jake Leschinsky, plays in Swift Technique and Brother Joscephus.

“Swift Tech is more of a straight-up funk band, and BroJo is a group that draws more from New Orleans jazz and funk influences, but the two groups together really complement each other well. I wouldn’t call them the same genre, but it’s the same spirit and creative energy that should make for a really compelling evening for people who want to dance and let loose,” says Leschinsky. They are a band that focuses on delivering high-energy live performances to get audiences on their feet.

“Songwriting has always been a pretty organic process. We never really try to force anything.” Leschinksy elaborates, “We really make a point of collaborating in the rehearsal setting on the material. Being a predominantly instrumental group it gives us a bit of a creative license to have some unusual arrangements that are really unique to Swift Technique.”

The group is about to release EP of a mix of various recordings over the past year recorded in Philly, New Hampshire, and live recordings from the Ardmore Music Hall.

I think the most apt way to describe seeing King Tuff live is to describe the banner in front of which he performed. The words “KING TUFF” are spelled out in flames, surrounded by sunglass-clad skulls with varying numbers of teeth missing. The sunglasses have the words “KING” and “TUFF” emblazoned across the lenses.

King Tuff is not big on subtlety.

On Wednesday, Vermont-based garage rock weirdos King Tuff played to a packed house at the Church–part of the string of final shows this fall before R5 cedes the storied space to an after school group. Mr. Tuff (actually named Kyle Thomas) may be one of the world’s best ambassadors of dad rock, slinging shamelessly massive riffs with a bright blue Gibson SG through a beat up Marshall full stack, backed by what appeared to be two aging roadies for Lynyrd Skynyrd. The band exuded a certain skeezy charisma, affecting the part of rock star idols (replete with sweet moves) despite the dingy basement setting. They wasted little time in working the crowd up, which devolved into a mass of moshing entropy after two or three songs that only grew throughout the night. If you suspended you sense of disbelief and squinted just a little bit, it wouldn’t be hard to imagine King Tuff in the mid-seventies selling out stadiums. For now, though, he seems perfectly content being the freak working up weirdos in basements–and I seriously dig it.

On Thursday August 28, The Love of Everything, Potty Mouth, Perfect Pussy, and Joanna Gruesome played a show full of raw, dominating sound. The four bands from Western Massachusetts, Brooklyn, Chicago, Cardiff, and England played their third night of tour at the First Unitarian Church. The opener, Joan of Arc’s Bobby Burg began his set as The Love of Everything with a mix of catchy, lo-fi punk, dream pop. A solo act, Burg presented an interesting and inviting segue between the slow crawl of show goers filtering in and the high energy acts that were to follow. With a technical malfunction quickly overcome in the beginning of their set and a few minor timing issues, Potty Mouth played their way through fan classics (from Bad Bad, to Sun Damage, to Hell Bent) and a few new, well received songs.

With a new split coming out this fall on Slumberland/Captured Tracks/Fortuna Pop, Perfect Pussy and Joanna Gruesome made a great closing duo. Both bands had the audience screaming and thrashing along. In good taste, Alanna McArdle made an announcement before their set to have fun but don’t get out of hand. From the cheers that followed, the crowd happily obliged. As a swarm of sweaty, overheated show-goers heaved themselves up the stairs of the basement, the overall atmosphere was one of a Thursday night well spent.

Wow okay so this is mad late but whatever. I saw Disclosure like a month ago and due to a combination of being super busy at work and super lazy when I’m not at work, it’s taken me this long to get this review out. I know you’ve been on the edge of your seats wondering how I enjoyed the Disclosure show at the Union Transfer last month and now you’re finally going to find out.

Full disclosure (pun fully intended because punz rool): I’m not “the biggest fan” of Disclosure. I’ve heard their album Settle, thought it was really cool, and then kind of forgot about it. I haven’t heard their early stuff, but I thought that album was dope and figured their show would be pretty fun. I honestly didn’t even plan on see them- I was supposed to see Kishi Bashi but then a fellow DJ at the station handed me a pair of free tickets to the thrice sold out show, so I couldn’t really say no. Not knowing what to expect, I finally rolled up some time after 9 PM, just in time for that awkward transition after the opener to the main act. I met up with my friend Chris (@CrispyChrisX) who proceeded to tell me all about house music until Disclosure got on. A good primer for the coming act, considering I missed Broadzilla since I got there late.

When Disclosure finally got to the stage, I didn’t really know what they had so many instruments set up. They had a drum kit, keyboards, bass guitar… I thought these guys were just DJs? Turns out one of the reasons their work sounds so rich and full is because they play real instruments! Of course, everyone reading this probably thinks I’m a total noob but WHATEVER man I think learning new things is great and I just wanted to share that excitement with you guys.

Anyway.

The crowd was super pumped, and since the show was super sold out, the Union Transfer was more packed than I’d ever seen it. Disclosure used that to their advantage though and got the jams pumping right away, forcing the close-packed crowd to dance with “F For You”, leading into “When A Fire Starts To Burn.” After that, they played some stuff that I didn’t recognize, but Chris told me was some of their old stuff updated with new twists (I later looked it up- I remember at least one of their old songs they played was “Flow” which sounds good on YouTube, but was incredible live). This whole time, the brothers are singing, playing live drums, and doodling around on the bass. If there’s anything I love in house music, it’s a good bassline and watching it being pulled live from an instrument is just too cool.

The duo moved back to more famous stuff from their album, which due to their excessive touring schedule was incredibly tight and well rehearsed. They kept it fresh though, adding all sorts of new elements to songs that undoubtedly were getting a little old for them. At one point, Chris turned to me and complained that he didn’t think they sounded “big enough” and that one of the drops should have gotten more of a reaction. Luckily, their next song was crowd favorite (or at least MY favorite) “Grab Her” and they had it turned up to 11 the whole time.

I especially liked how professional their light set up was. For two brothers who are barely old enough to drink at some of the shows that play in the USA, they had laser effects and projections rivaling well established bands like Chromeo and and Emancipator. The Disclosure mask made quite a few appearances, floating around the brothers’ heads and (somewhat creepily) singing along the last few tracks. From a projection display that reminded me of the video for Simian Mobile Disco song “Cerulean” to lighting the whole stage red during “When A Fire Starts To Burn”, the show was just as visually stimulating as could be (speaking of which, when they played “Stimulation” the crowd went wild with how pumped up the sound was).

Finishing the track “Help Me Lose My Mind” with plenty of audience help on the vocals, the brothers walked off stage. The crowd started chanting “Latch! Latch” and when Disclosure finally walked back on stage I thought the roof was going to fly off. Closing with a soul splitting rendition of “Latch” in which everyone sang (even me, despite only learning the lyrics after the first verse). It was a beautiful show and the vibes during it the whole time were just fantastic. If you haven’t yet, I highly recommend taking the time to see Disclosure live if you get the chance. No matter if you’re feeling happy or sad, tryna dance or tryna chill, Disclosure put on one hell of a show.

On Sunday, June 15th, I was given the incredible opportunity to see tUnE-yArDs and Sylvan Esso at Union Transfer. While it was not the only musical endeavor I had involved myself in that weekend -the previous night had been defined by an excursion to the Great Indoors in West Philly to see PILE and others, and the afternoon I helped out Nick Myers with putting Tweens on our airwaves – it was tUnE-yArDs! Nobody can beat the bizarre reputation of Merrill Garbus and her merry band. Since 2009, Garbus has been making music and touring relentlessly. The consensus among my friends was that it kind of had to be seen to be believed.

Before the show, I was also invited to interview Sylvan Esso, who were opening on this tour. The first listen won me over. Despite being almost entirely electronic, Sylvan Esso’s music sounds human to me. From a more technical standpoint, the production value is high. Amelia’s soprano is layered and complemented by the high level of deep bass in all of their songs. I struggle to pick out a structure in their songs, but that’s not a bad thing. They ebb and flow organically. The lyrics are conversational, and definitely have a stream-of-consciousness feel to them.

When I first met them, it was clear that Nick and Amelia make an extraordinary creative team. They welcomed me into their dressing room with smiles. There were moments during the interview where I definitely thought they were messing with me, the strapping young music journalist, but I was so okay with that. It was a pleasure to get to know their creative sides.

If you’re a punk kid from Philadelphia, chances are you know of the Golden Tea House. Several nights a week, people from far and wide flock to this oasis of good times and cheap, all-ages, relateable music. The kitchen is where it all goes down. Bands set up opposite the stove, the refrigerator, the microwave, and the audience. Bring earplugs, because the PA is terrible. If you by chance forget them, the door guy probably has some spares, but be chill about it.

The illustrious House has been holding shows since at least 2012, which is grandfatherly in punk years. That whole time, it’s been cursed by terrible, oblivious writings about it (the article about DIY venues on Myspace is a glaring example). That said, here’s my shot.

Last Thursday, I went out to see Pujol, Needle Points, Ruby Buff, and The No-No’s. It was a curious bill, for sure. The No-No’s were first on for their first show ever- trading virtuosity for attitude and energy. The pint-sized girl lead singer yelled about all kinds of things. The drummer was loose and liberal with tempo and the dual guitars sounded like unhealthy chainsaws, but watching them was the most punk thing I did all week. They played a song called “I Wanna Hit My Head On The Radio,” which kinda rules. Seeing them made me want to start a band like them.

Ruby Buff took the form of a power trio taking cues from powerpop, post-punk, and other twinkly guitar music. They were really tight, and they had a singing drummer who got the job done. Their guitarist looks a lot like the guitarist from another great band, The Joint Chiefs of Math. They might be the same person, but my cursory internet research appears to indicate otherwise.

Needle Points appeared in the kitchen dressed in full psychedelic garb, to the delight of the modest Thursday night crowd. There was glitter, leopard print, eyeliner, and tribal paint. They truly pulled out all the stops. As an ensemble, they are an experience – two standing drummers playing a hodgepodge of random drums and cymbals, fuzz bass, slapback guitar, and a howling, possessed lead singer evoking equal parts Iggy Pop, Peter Zaremba, Syd Barrett, and Sky Saxon. All of this stews together into something that will make you dance your ass off.

They aren’t just some imitation revival act – I find that they bring an addictive energy and originality to live psychedelic garage music. I don’t know how these beautiful people found each other, but they did, and the results, in the form of Needle Points, are exquisite. I hate to attach something so immaterial as the beauty of Needle Points to material goods, but you should get their self-released record on your turntable soon because it rips. If you’re too cheap for that, get a very solid approximation of their live set and “studio” work from their live set on WKDU (see below).

Now, full disclosure, I had to leave before Pujol played, but they are worth mentioning. To me, their recordings sound like Wavves’ second record and Diarrhea Planet – straight ahead rock’n’roll out of Nashville with hipster tendencies and a rough, self-deprecating voice. Their new record, titled Kludge, is worth checking out.